This paper discusses director Mel Gibson's movie, "The Passion of the Christ", concerned specifically and graphically with the details of the torture and death of Jesus.
Abstract This paper explains that the violent nature of "The Passion of the Christ" has created a great deal of controversy, but the movie has largely been seen as an accurate portrayal. The author points out that, in terms of New Testament studies, the movie's reach is limited because it contains a relatively restricted look at Jesus' teachings and because the movie has been criticized as anti-Semitic. The paper contends that, perhaps, the movie's greatest impact has been on the culture at large because it has increased interest in Christ's resurrection, and religious groups have taken this opportunity to use the movie for outreach.
Table of Contents
Introduction
Impact on New Testament Studies
Impact on Culture at Large
Conclusion
From the Paper "Gibson's movie has been criticized as being anti-Semitic in nature, an accusation that has an impact on New Testament studies as well as on larger culture. In the movie, Gibson decides to omit the line from John's gospel that shows Caiaphas' inner torment at sending Jesus to the cross. In omitting this line, it can be argued that Gibson's movie is anti-Semitic, as it clearly shows Pontius Pilate's inner conflict with his actions."
Abstract This paper examines the theme of identity, or of changing identity, seen throughout Graham's work. The paper examines and analyzes several of Graham's pieces in order to illustrate this continuous theme. The paper explains how Graham's fascination with the permanent instability of the photographic, filmed self reflects his feeling that he never really had a clear vision of who he was as an individual or who he was as an artist.
From the Paper "Rodney Graham is a Canadian artist, born in Vancouver in 1949. But he could be anyone?or so his art suggests. In Fishing on the Jetty, 2000, the Rodney Graham renders himself into his own text as a filmed subject. In this film/performance art piece, the viewer is witness to the sight of Graham playing Cary Grant in his own nautical version of Alfred Hitchcock's ?To Catch a Thief.? Graham, within the context of the piece is himself, is the character of Grant, and is also the persona portrayed by ?Cary Grant,? the sublimely artificial romantic lead of the 1930's classical film in a who-done-it about mistaken identity, a film where the actor portrays a constantly misleading man with a shape-shifting identity."
Abstract This paper presents a short analysis of a sequence from Francis Ford Coppola's masterpiece, "The Godfather". The scene in question is the murder of the police chief and rival mob boss by Michael Corleone, played by Al Pacino. The paper focuses on the camera angles, motifs, etc.
From the Paper "As he enters the stall, the camera pans right to follow him. It stops directly behind him as he begins searching behind a rectangular fixture on the wall for the gun that is hidden there. As he searches, he turns so that the left side of his face appears in profile. The left (or sinister, from the Italian) side of his face is swollen and slightly bruised because the captain at the table broke his jaw in an earlier scene. The injury has caused his cheek to swell and speech to slur, which makes him look and sound more like his father, the Don of the Corleone crime family. It is appropriate that the audience can only see his "gangster" side as he prepares to commit the first act in his life of crime."
Abstract This paper examines how although times have changed in between Jane Austen's novel "Emma" (1816) and Amy Heckerling's film "Clueless" (1995), the vales of humanity remain the same. It looks at how what has changed with the times is the attitude society has taken such values as tolerance and relationships and shows how through examination of these two main values, both composers use satire to criticize the society they live in.
From the Paper "Before the values of humanity and the composers are addressed, the way in which times have changed must first be examined. Jane Austen wrote her novel in a time of social upheaval and revolution from the Napoleonic wars and the French revolution as well as the examining of values during the Enlightenment. The Enlightenment values rationalism and empiricism, direct emotion and removal of obstacles to correct and clarify understanding. These are the values of civic humanism, which means active and patriotic citizenship as well as an ethos and educational ideal."
Abstract This paper provides a summary and review of the two works, Mary Shelley's "Frankenstein or, The Modern Prometheus" and the movie, "Young Frankenstein,"to highlight their key similarities and differences, followed by a summary of the research in the conclusion. The paper includes a graphic of Mel Brooks's "Monster".
From the Paper "Nevertheless, the novel clearly demonstrates that even the most wretched human being understands better than anyone - even those who deem themselves intellectually and morally superior - what type of knowledge, experiences and liberties are needed to ensure individual happiness. Life is short, and there is little room for false starts; certainly, there is no room at all for ignorance when there is knowledge to be had, even if it means that people may not be quite as happy as they expected. As a result of Victor Frankenstein's misguided attempts at playing God, the monster's terrible loneliness eventually drives him to seek revenge by murdering Frankenstein's wife, brother, and best friend. Frankenstein dies while trying to find and kill the monster, who disappears into the Arctic at the end of the novel."
Abstract This paper goes through the opening sequence of "The Truman Show", detailing every shot and frame and its significance. The main points explored are: The importance of the opening sequence and equilibrium in the rest of the film, how the impression is created that Truman is being watched, how different atmospheres are created, the significance of each individual camera shot and how the tagline "on the air unaware" is conveyed in this sequence.
From the Paper "The opening sequence of any film is vital in giving the viewer initial information of the situation with which they are being presented, and also establishes the equilibrium for the film. In this particular film, the cinematography and mise-en-scene are especially important, as it is predominantly through these that the audience is asked to understand that Truman is the focus of a reality television show, and that he is unaware of this. His lack of awareness is clearly demonstrated by the cinematography whilst the fact that it is a staged show is suggested by the mise-en-scene."
Abstract This paper shows how "Lost Highway" can be seen as a cinematic mixture of the concepts used by Alfred Hitchcock in "Notorious" and "Strangers on a Train". Lynch's original presentation of those concepts shows that Hitchcock's influence did not stifle his own creativity. It explains how "Lost Highway" contains Hitchcock's trademarks, such as the wrong man theme and doubles. It also shows Hitchcock's directorial influence on David Lynch and the use of symbols by both directors. The examples provided are backed up by film quotes, music references, and quotes from a notable book on Hitchcock, Donald Spoto's "The Art of Alfred Hitchcock".
From the Paper "There are some directors that make great movies, and then, there are some directors who create amazing lasting cinema features. The latter do not only achieve fame in their lifetime, but are often immortalized by their own pieces as well as by the imitation of their styles and ideas. This imitation is, of course, not just a reproduction of what the original director did. The imitation, when done correctly, becomes another great piece of cinema unto itself; one such imitation is David Lynch's Lost Highway. Although Lost Highway can be seen as a cinematic mixture of the concepts used by Alfred Hitchcock in Notorious and Strangers on the Train, Lynch's original presentation of those concepts shows that Hitchcock's influence did not stifle his own creativity."
Abstract The 1995 blockbuster hit, "Crimson Tide," is an account in which two senior officers engage in a power struggle on board a nuclear missile submarine. This paper analyzes the conflict core and explores possibilities of resolution and prevention. The paper looks at contributing factors, intervention, and mediation.
From the Paper "There are time when intervening directly in conflict is necessary. When the ship's captain becomes irate with the XO in front of the crew, and a heated argument commences, it was COB who decides to intervene and defuse the possibility of violence. As minor as his role may seem, COB is becoming more and more of a mediator in this situation. He is respected by the crew, he is biased only to navy regulations, he is very direct, and his excellent people skills are demonstrated when he calmly defuses the argument between the captain and the XO ..."
Abstract The essay looks at the various macro and micro business ethics issues raised in the film, "Wall Street" and outlines how Western Christian theologians would rationalize these. The essay deals with topics such as greed, corruption, corporate governance, leadership, corporate codes of ethics etc. using Oliver Stone's 1987 film "Wall Street" as a study piece.
From the Paper "In Wall Street we find that Gecco has a plutocratic monopoly over the power and control of his company because he has the board "in his back pocket" . At Gecco & Co. there is a tragic lack of contestability, and Gecco, being at the pinnacle of the corporate organogram has absolute power. However from a Christian perspective, especially considering Gecco's laissez-faire ethical stance, this is hardly ideal, and if we look briefly to the Christian scripture on leadership qualities we find from the Christian perspective, Gecco is certainly not the right man for the job -"the overseer must be above reproach, the husband of but one wife, temperate, self-controlled, respectable, hospitable, able to teach, not given to much wine, not violent but gentle, not quarrelsome, and not a lover of money."."
Abstract Through public interest, advancements in technologies and story-telling techniques, an industry grew and a culture was formed around the medium known as film. Within the following essay the phrase "a culture of viewing" is explored with reference to the technical innovations of film processing, the development of film culture and the transformation of film entertainment during the late nineteenth and early twentieth century.
From the Paper "Photography, a nineteenth century scientific invention, has like many other technical innovations of the era "dramatically altered mankind's perception and experience of the world, "an effect that continues to this day" (Museum Ludwig Cologne 1996). The invention of photographs defines the beginning of the modern era due to the effects it had on new systems of representation including cinema. The ability and need to create and reproduce photographs ourselves has created a virtual reality that has become an inescapable part of our modern era (Museum Ludwig Cologne 1996). The invention of photography as we know it in the modern world today is one which not one person can solely be praised for as many generations have been involved in its perfection (Davis 1975, p.1). The concept behind photography is the "camera obscure". Latin for "dark chamber", and was a room or box with a small opening or lens in one side which was known to the ancient world as early as Aristotle and Leonardo da Vinci in the fourth century B.C. (Meggs 1998, p.135)."
Abstract The ethical theory of 'act utilitarianism' regards the solution to moral problems in terms of a calculus or algorithm that will, when given the relevant input, be able to provide the 'morally right' output. This paper describes the role that the ethical theory of act-utilitarianism plays in Woody Allen's movie, "Crimes and Misdemeanors". The paper argues that act-utilitarianism is shown to be a faulty ethical theory according to the movie.
From the Paper "Even assuming that happiness were something that was objective and easily measured, it could still be possible for two people to have differences of opinion in deciding which morally correct course of action to take. While Judah may have seen the murder of Delores as being the course of action that not only preserved his happiness and the happiness of his family and all of those around him, were Delores to be consulted, she would have most likely come up with a different conclusion. Assuming that she was using act utilitarianism to come to her decision as well, Delores probably would have argued that Judah leaving his wife would have led to more happiness in the long run that the ending of her own life."
Abstract The paper examines how the author, designer, painter, photographer, filmmaker, and publisher known as Andy Warhol was one of the twentieth century's greatest artist. It looks at how he became a pop culture genius and how, through his work, became a part of it as a social commentator and visionary.
From the Paper "Magazines and film were two other mediums used by Warhol. After graduating from the Carnegie Institute of Technology in Pittsburgh, Warhol first worked as an illustrator for magazines like Vogue and Harpar's Bazaar and for commercial advertising. His magazine, however, would live on even after Warhol's death. In 1969, Warhol co-produced a magazine named "Interview" with John Wilcock, editor of an underground newspaper called "Other Scenes". The magazine featured text and loosely edited interviews from cassette tapes. Andy often said that he started the magazine to get free tickets to all the premieres. The magazine quickly turned into a monthly review of popular culture. Celebrities, fashion, art, music, movies, television, gossip, and celebrity nightlife (especially the notorious Studio 54) were all featured in the magazine."
Abstract This paper explains that the movie "Crouching Tiger, Hidden Dragon" means hiding one's strength from others, a skill mastered by most of the major characters. The author points out that both warriors and bandits were tied to their lifestyles as the very essence of their existence. The paper relates that the movie showed what it was like to live in China in the Qing Dynasty conveying the rich culture and personal conflicts of people in that era.
From the Paper "Jiao Long aspired to learn more than what her master could teach her and hid her skills from her master. Not the way a disciple should act. She reacted to the attack by the bandits by chasing the head bandit Dark Cloud. This is not the way a young noblewoman should act. She later became his lover. Another action unbecoming of a noblewoman. She disdained marriage to another aristocrat and left her groom hanging by taking off. She resisted authority till the end, ending her life by jumping from Wudan Mountain, because it seemed like she was forever searching for more. A conformist, Jiao Long is definitely not."
Abstract This paper examines how the movie "Good Will Hunting" proves that psychological and environmental obstacles need to be challenged in order to be overcome. In particular, it looks at how this relates especially to the life of Will. His attitude was very troubled, but when he created goals and dreams his life changed to the better.
From the Paper "Pride was another issue that was introduced to the viewer. Now pride was both Will's problem, and the professor's in math. As Will was given the opportunity to go see a therapist, instead of serving time in jail for a crime he did, he refused. The reason was pride. Will had for a long time read books, and he was very confident that he was not in need of any therapist. He kept saying: "I don't need therapy." The professor had another problem with pride. He was so proud about his life, that he compared it to all others, and believed that his life was much better than theirs. One he compared himself to, was an old friend of his, named Shawn. But Shawn saw through the professor and challenged his big ego. This is what Shawn said to the professor: "You're fucking scared of failure!" And it was true."
Abstract This paper explains that "Donnie Darko" is a film, set in 1988 in Middlesex, Virginia, about a young teenage boy named Donnie Darko, a somewhat disturbed teenager who escapes a weird accident and from then on sees a vision of a large rabbit who makes him believe that the world will end in 28 days. The author points out that, at first, the film may be viewed as a shallow disoriented teen movie but, as critics cite, reveals a much deeper revelation and reflection of American society at this specific time. The paper concludes that the film proves the power of media to educate, free, convict and manipulate; therefore, filmmakers should always be responsible and accountable in their works.
From the Paper "Jim Cunningham, played by Patrick Swayze: This character in the film establishes this "self-help" empire aimed at helping people battle their fears through his therapies and seminars. According to him, mans' proceedings are based on two inert human emotions, fear and love. Hence, bad or negative actions lead to fear and positive or good actions lead to love. His philosophical thought attracted a lot of educational institutions that adopted his line of thought. His numerous therapies on helping people overcome and solve their fears was a magnet. Because of this he became a very influential and famous person. Nevertheless, his hypocrisy would soon be unfolded in an accident. He was discovered to be a pedophile when his mansion was gutted by fire. In his basement was his stash of child pornography materials. It was later referred to as "Kiddie Porn Dungeon"."
Tags: 1980s, satire, homosexuality, teenager, guru
